Track list:1. Shades Of Grey2. Ana's Theme3. The Red Room4. Then Don't!5. A Spanking6. Going For Coffee7. Where Am I?8. Ana and Christian9. Clean You Up10. The Contract11. The Art Of War12. Did That Hurt?13. Bliss14. Show Me15. Counting To Six16. Variations On A Shade

Selasa, Februari 10, 2015

Coming Soon mewawancarai sutradara The End of the Tour, James Ponsoldt, berikut kutipannya:

CS: A lot of times when you have movies at Sundance, you’re trying to get it done at the last minute. I don’t know if that was the case with this one.

Ponsoldt: This was the first time that I didn’t have to do that, where every other time, it was sprinting and I was still doing work in early January. In this case, we had finished shooting by the end of March and had it pictured locked by July. I was actually able to really enjoy – I mean, it was slower for me because I had a newborn child, but also, we were lucky. There was these amazing artists I was able to work with like Danny Elfman or our colorist, Bryan McMahan, who worked with Malick.

CS: That’s pretty funny, wow. You mentioned Danny Elfman. He obviously is a great composer, but it seemed like an odd combination of you and him for some reason. He usually does Sam Raimi and Tim Burton movies, much bigger movies.

Ponsoldt: Yeah, I mean, from early on, R.E.M. and Brian Eno were two musicians, a band and a musician that sort of factored into the time that Lipsky and Wallace spent together and they had conversations about what they listened to. So I knew that R.E.M. and Eno would feature in the movie. We end the movie on this Eno song. We have a couple of R.E.M. songs. There was talk of potentially working with Eno, but then the assistant director that I worked with for multiple movies now, Nick Harvard, we spent a fair amount of time working together, he was the A.D. onWhiplash. He’s a great AD. He actually asked me, while we were pretty early in post, he said, “Hey, are you locked in on a composer or anything?” I was like, “No, not yet.” He said, “Well, there’s this family friend I have that is a composer. He’s been asking what I was doing up in Michigan while we were shooting this thing and he’s just really curious about it. Anyway, I feel like I should just mention it.” I was like, “Oh, who is it?” He’s like, “Oh, Danny Elfman.” I was like, “Oh, I’ve heard of Danny.” He’s like, “Yeah, well, he’s really interested. I don’t know what you think.” And the reaction I had was kind of the one you had, right? The truth is that Batman was the first movie that I ever… I never have told Danny. This is such a fanboy thing. Batman is the first thing I ever bought on VHS and when I was a kid I would watch it like, three or four times a week. I learned what a composer was through the Danny Elfman, Tim Burton collaboration, like Pee-wee’s Big Adventure, Batman, everything after that. Then, the work that he’s done in the past few years with David O. Russell, but especially with Gus Van Sant, with both of them, it’s working in a completely different mode, a more minimalist mode, and it’s not the Danny Elfman sound we associate with “The Simpsons” or Burton. So I would love to meet with him because he’s a genius, and even if it works out or not, how can you say no to that? When we sat down, I just realized he was such a patient, kind, open collaborative real artist, and I was like, “Oh God, he could do this in his sleep.” He has gotten famous for doing Sam Raimi and Tim Burton movies, where he does 100 minutes of score with lots of sound effects and the London Philharmonic, but that must get old. I was interested in doing something that would be like 25 minutes of score that’s ultra minimalist, that’s real undertones to the movie.

CS: It’s very subdued, that’s what I’m saying. I would not have realized that he could do that kind of music.

Ponsoldt: Yeah, and I think he was really excited. I mean, the movies, he had done last year, he was working on Fifty Shades of Grey and Big Eyes. I think he was really excited about the challenge of this. Yeah, he was just a wonderful collaborator. He worked so, so, so, so hard on it. I was really blown away. As far as seeing someone who does something different than what I do, but my respect for his craft and artistry, he cared as much as if it was the first movie ever scored, like he was sensitive and vulnerable and self-conscious, like, when he was first playing me cues, he was really nervous. I was like, “How are you nervous?” It was mind-blowing and disarming. He was just a great collaborator.

Minggu, Oktober 12, 2014

BATMAN THE ANIMATED SERIES VOLUME 3 (LLLCD 1322)LIMITED EDITION OF 3000 UNITSRETAIL PRICE: $59.98PRODUCED BY JOHN TAKIS AND NEIL S. BULKMASTERED BY JAMES NELSON AT DIGITAL OUTLANDLINER NOTES BY JOHN TAKISART DIRECTION BY DAN GOLDWASSEROriginal Release Date: October 7th, 2014Music by Shirley Walker, Carlos Rodriguez, Peter Tomashek, Todd Hayden, Harvey R. Cohen, Michael McCuistion, Lars Clutterham, Stuart Balcomb, Mark Koval, Lolita Ritmanis, Richard Bronskill, Tamara Kline, Carl Johnson, Steve Chesne and James StempleLA-LA LAND RECORDS, WARNER BROS, WARNER BROS ANIMATION AND DC COMICS travel back to Gotham City for a third time and unleash this massive 4 cd set of BATMAN THE ANIMATED SERIES. Episodes like ROBIN’S RECKONING, ETERNAL YOUTH, DAY OF THE SAMURAI, MUDSLIDE, THE UNDERDWELLERS and THE CLOCK KING are just a few incredible scores that have been included in this third volume of music. John Takis’ liner notes continue where he left off on Vol 2, digging deeper into the heart and soul of this classic tv series with exclusive interviews of the various composers and how their timeless scores changed the face of television.CD 11. Main Title (Danny Elfman) 1:03ROBIN’S RECKONING (BONUS TRACK) (Carlos Rodriguez)22. Renee Finds Batman/Batman Fights the Mob**/Montoya Cleans Up 5:07CD 31. Main Title Demo (Two Pianos) (Shirley Walker & Danny Elfman) 1:01CD 4BLIND AS A BAT (Steve Chesne & James Stemple)28. Sight, Or No Sight/Tooling Up*/Quoth the Batman, “Nevermore”*/** (J. Stemple) 4:2941. End Credits (Danny Elfman) 0:45Main Title dan End Credits sudah pernah dirilis sebelumnya tapi Main Title Demo (Two Pianos) dari Shirley Walker dan Danny Elfman belum pernah dirilis. Dua tracks dari Carlos Rodriguez dan James Stemple menggunakan tema Batman dari Danny Elfman.Cek lengkapnya di sini.

Rabu, April 09, 2014

La-La Land Records presents the original motion picture score to the new, acclaimed documentary feature film THE UNKNOWN KNOWN, in theaters now, directed by renowned filmmaker Errol Morris (STANDARD OPERATING PROCEDURE, THE FOG OF WAR, THE THIN BLUE LINE). Morris re-teams with his STANDARD OPERATING PROCEDURE composer, the masterful Danny Elfman (AMERICAN HUSTLE, ALICE IN WONDERLAND, EDWARD SCISSORHANDS, BATMAN), who provides a thematically rich and emotionally intense orchestral backdrop to this mesmerizing chronicle of former U.S. Secretary of Defense Donald Rumsfeld's career in Washington DC. Produced by Danny Elfman and mastered by Patricia Sullivan this release showcases another notable work from one of contemporary filmdom’s most talented and celebrated composers. Art direction is by Dan Goldwasser.

This album is also available for digital download at online digital music retailers.